Zimbabwean Mbira Music and Modern Spirituality in the Western United States Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By James Daniel Lindroth, BM Graduate Program in Music The Ohio State University 2018 Thesis Committee: Ryan Skinner, Adviser Isaac Weiner Michelle Wibbelsman Copyright by James Daniel Lindroth 2018 Abstract Zimbabwean music found its way to the Western United States through a visiting artist in the ethnomusicology department at University of Washington in the 1960s. In this paper, I look at some of the consequential musical practices that have spread throughout the United States since then. More specifically, I look the mbira dzavadzimu, a lamellophone from the Shona people of Zimbabwe, and the role its music has taken on within the North American Zimbabwean music community. I examine the ways the music also fits within movements of modern spirituality, defined by the borrowing of foreign practices as a means of accessing “spiritual experiences.” I trace a history of the instrument through the United States, as well as the spread and attention to it within both the North American musicking community and scholarship. I then describe the “spiritual” felt by mbira players and how the sociality inherent to the performance of the instrument helps define said spiritual experiences. Finally, I describe the practices of American mbira players and the ways engaging with the music authentically allows them access to heightened affective states. This document serves the purpose of showing the ways mbira dzavadzimu is positioned within modern spirituality and the idiosyncrasies of mbira performance as a spiritual practice. i Acknowledgments I am indebted to many people who assisted me throughout this project. First and foremost, I thank Erica Azim for her mbira instruction thus far and being so open and welcoming to me before, during, and after her camp. The same goes to the other campers I communed with over the course of the week and the warmth and openness with which they spoke and shared with me. I hope to continue to foster relationships with them and run into each of them somewhere on the path ahead. Special thanks go to Dr. Claire Jones, who spoke to me candidly and friendlily a few times over the course of the past year when we discussed the history, current moment, and future of Zimbabwean music in the United States. A huge amount of gratitude is owed to my advisor, Dr. Ryan Skinner, who had great patience and grace as he guided and encouraged me through both this project and my graduate degree in ethnomusicology. No matter which direction my life goes, his instruction, wisdom, and knowledge will have affected it greatly. I must also thank my other committee members, Drs. Michelle Wibbelsman and Isaac Weiner, for their patience as well as their guidance in things new to me. Their comments and suggestions greatly helped me shape the project and my ways of thinking about it. The other musicology graduate students here at Ohio State also helped shape me in my time here and graciously put up with me and my silliness while also being fantastic sounding ii boards and sympathizers. The same goes to the percussion studio here at OSU, where I started my graduate studies. Dr. Susan Powell and Prof. Joseph Krygier taught me much about percussion and music and their instruction will stick with me as I musically move through the world. The studio members themselves also deserve much credit as close friends and collaborators, even though my final year at OSU was spent in papers and books instead of playing next to them in ensembles. iii Vita 2010……………………………………………..South Carolina Governor’s School for the Arts and Humanities 2015……………………………………………..B.M. Performance, University of South Carolina 2016 to present………………………………….Graduate Teaching Assistant, Department of Musicology, The Ohio State University Fields of Study Major Field: Music iv Table of Contents Abstract…………………………………………………………………………………………….i Acknowledgements………………………………………………………………………………..ii Vita………………………………………………………………………………………………..iv Introduction………………………………………………………………………………………..1 Chapter 1: Background……………………………………………………………………………9 Chapter 2: Experiencing Mbira…………………………………………………………………..32 Chapter 3: Practicing Mbira……………………………………………………………………...52 Outroduction……………………………………………………………………………………..76 References………………………………………………………………………………………..82 v Introduction I realized as I walked up to her door that it was possible Erica hadn’t seen my face before. I had been taking lessons from her on Skype for a couple of months now, in preparation for this camp, but it only dawned on me as I knocked that she might have never seen me. Her camera faces her hands so that her students can see the instrument she has placed on her lap. Thinking on it as I stand on the porch, but looking around, up and down the street, nervously as I wait for her to answer the door, it would make sense if she were using her phone for the Skype calls. There’s a high likelihood that I’m going to just appear as a random guy in an Ohio State hoodie holding an old corduroy suitcase on her doorstep. Of course, she’s expecting people and I told her I would be there around that time, so she’ll probably be able to figure it out, but what do I do when she answers? Will she know who I am, should I introduce myself? As my mind race back and forth to try and answer this riddle, the door gleefully opened and Erica greeted me with a smile. It was an uncertain smile. She had been expecting me but it was obvious she didn’t recognize my face. Regardless, she was able to guess who I was and she welcomed me into her home, offering me a seat on the couch, where I sat awkwardly and tried to make some small talk with the other camper, who had arrived a couple of hours before me. After a while, I turned my attention to Erica’s set of mid-height bookshelves, bearing the weight of at least fifty mbira, musical instruments from Africa. 1 This instrument, organologically categorized as a lamellophone, is small and handheld. It is made from mukwa or mubvamaropa trees, brown heartwood, also known as African teak, native to Southern Africa. On each slab of wood are between 22-26 thin strips of metal, flattened, shaped and positioned carefully, yet firmly, between two cross-beams that traverse the wooden soundboard horizontally. The strips of metal are plucked with the thumb of the left hand on one side and the thumb and forefinger of the right hand on the other. The resultant sound can be hard to describe but it is reminiscent of a music box, albeit a hardy and lively music box. It has been vernacularly referred to as a “thumb piano.” This particular flavor of lamellophone, as there are many, is played by people from the Shona ethnic group of Zimbabwe. Called mbira dzavadzimu,1 “mbira of the ancestors,” the instrument serves a vital function in traditional religious ceremonies, called mapira (bira, singular), where the music produced induces trance and possession in spirit mediums, who are consumed by the spirit of an ancestor in order to give consultation to the living. In indigenous Shona beliefs, once passing away the deceased become, after the body undergoes ceremonies and rituals, spirits who have the ability to affect the world of the living. The mbira and its music, because of their position and role in ceremonies which induce spirit possession, are seen as a bridge between the spirit world and the world of the living. Mbira are usually played in either duos or trios, where one musicians plays a foundational part, called the kushaura meaning “to lead,” and the other one or two play an intertwining part, called kutsinhira, which either differs rhythmically or complicates the already 1 This instrument is referred to throughout as simply mbira. Because “mbira” is also used as a generic term for Zimbabwean (and other) lamellophones, mbira will represent the lamellophone family while mbira represents the specific type mbira dzavadzimu. 2 complex rhythm by playing in close rhythmic canon. The playing of two or more parts together results in dense polyrhythm, polymeter, and polyphony. The players’ patterns repeat for however long players are willing to keep them up; in traditional ceremonies they can last for hours at a time. The ever circling chord progressions, which can be split into four phrases, lend themselves to this kind of performance, keeping the melodies inherent to the polyphony going. Singing to mbira songs, especially at the bira, is done by anyone in attendance, as participants pick out melodic lines from the dense combination of notes in the air. I was here, in Berkeley, California, on this couch, making small talk, to learn mbira. Every year, for one or two weeks in the summer, Erica Azim invites people into her home for an “mbira camp,” where Americans (and occasionally people of other nationalities) learn the Shona musical form. Having studied and played the instrument for 45 or so years, Azim is well practiced in teaching the music to non-Shona people. She became invested in the music, eventually making a life out of playing and teaching it, while attending University of Washington where she joined the classes and ensembles offered by the late Zimbabwean musician Dumisani Maraire. Many musicians were similarly influenced by Maraire. From his years of residence in the US as a visiting musician, Maraire catalyzed what has become a network of Americans playing Zimbabwean music across the United States, focused especially on the West Coast in Oregon, Washington, and California, with other communities in Colorado and New Mexico. The North American Zimbabwean music community also has smatterings of musicians in Texas, Alaska, Hawaii, the Northwest, and parts of Canada.